Scrooge you

PSC teaches an old play new tricks

By Katherine Joyce

A Christmas Carol shows at Sanford Maine Stage, in Springvale, through Dec. 9. Call (207) 324-9691.

THE CRATCHITS: the best news? They don’t make the kids have British accents.

When most of us think of Christmas stories, we think of A Christmas Carol and It’s A Wonderful Life. We think of these stories because we see them on television every year, over and over. We watch them because they are timeless stories that remind us of where our heads and hearts should be in spite of mall-parking-lot fiascos and someone else snagging the Christmas tree you wanted just as you were looking for the vendor. We watch them because they remind us of all the Christmases that went before, and how happy and simple things were then (back when our parents had to deal with all of the stress). We know these stories inside and out, and in spite of ourselves, we occasionally grow weary of them. There are times when the stories temporarily lose their sense of wonder, and become just another lesson we have trouble learning.

I was in this state of mind when I proudly arrived at the theater with 20 minutes to spare (as opposed to the usual 20 seconds). Thinking I was early, I trotted casually up the stairs, and opened the theater door, revealing what initially looked like mass chaos. It turned out that it was contained chaos. An entirely full house was following the lead of the actors in the show in acting out and singing the Twelve Days of Christmas. Wealthy women in pearls were twirling in place, pretending to be golden rings. Teenage boys were jumping up and down as the lords a-leaping. It was mayhem, but everyone was participating, and everyone was exuding celebratory vibes in child-like anticipation of the holidays. Just watching, I felt my harried and exhausted demeanor begin to melt. The magic had only just begun.

The story begins in Scrooge and Marley’s firm, with a freezing Bob Cratchit finishing up the day’s work as Scrooge bah-humbugs his way through the holiday cheer everyone is spreading around. Fred comes to ask his uncle to Christmas dinner, and is rudely rebuffed. All of this is familiar, right?

When the supernatural elements begin to wend their way into the story, the amazing skill of the designers, cast, and technical crew begins to make itself apparent. Whispers and chains suggest the presence of the Ghost of Marley. Lighting cues build our suspense. Cast members obscured in darkness surround Scrooge as he changes into his nightclothes. They take his coat and scarf, hand him his nightcap and slippers and silently disappear when they are no longer needed.

Scrooge’s conversation with Marley begins a whirlwind performance filled with wonderfully creative special effects that illustrate, rather than diminish, the story. Cast members patiently wait behind or inside of furniture for their cues. Lighting cues leave other parts of the stage obscured in darkness, letting the technical crew make things mysteriously appear and disappear. The sound effects are perfectly timed, whether they be performed by the cast members, or by sound board operator Michael Eller in a dimly lit space on stage. Images of stone interiors or exteriors are projected onto the back wall, removing the necessity for a more elaborate set.

Walker Jones gives a charming performance as Scrooge. He is slightly reminiscent of Alastair Sim in the old movie version of the story, but is funnier and ultimately more adorable. From his “Bah Humbug” to his “Merry Christmas” he is everything Scrooge should be. During his transition from angry and snide Scrooge into the Scrooge we all adore, we see Jones embody the spirit of Scrooge’s youthful self, even as he watches himself as a young man. We see his apprehension when faced with the truth about Tiny Tim’s health as he witnesses the Cratchits’ Christmas present. We see his desire to change the future when faced with the possibility of Tiny Tim’s and his own demise. And finally, we see a changed man full of giggles and jigs who can barely contain his love of mankind. His ability to perform such a broad range of ages and emotions allows Jones to lead the audience through this journey with great energy and spirit.

Another outstanding performance is that of Mark Honan as Bob Cratchit. He is a whirlwind of vibrant energy who alternately elicits laughter and tears from a willing audience. He is a wonderful contrast to the more reserved Scrooge, embodying the Christmas spirit with a vengeance.

Director Anita Stewart made a decision for the play that was a great relief to those of us who cringe at mediocre accents. Children and those who had not mastered the British accent spoke with no accent. Between this compromise and the skill of stage manager Marjorie Hanneld in controlling a large cast and special effects, the performance seemed effortlessly seamless.

Stewart does wonderful things with this long-loved play. Her creative vision uses the cast and crew to create aural and visual effects that are breathtaking enough to make any audience member feel like an eight-year old on Christmas Eve. With this production of A Christmas Carol, Portland Stage Company accomplishes an almost impossible task — it makes an old and oft-told story fresh, exciting, and utterly magical.

Katherine Joyce can be reached at ingliskat@aol.com